Laura Mulvey (1975) prominently explores the male gaze in her article Visual Pleasure and Narrative Cinema, criticizing its implications in traditional narrative cinema and how the representation of women on-screen is regarded as an object-of-desire. By analysing Céline Sciamma’s Portrait of a Lady on Fire (2019), the absence of male subjects allows for a deeper interpretation on female subjectivity and gaze. Considering the Matrix, a psychoanalytic theory conceived by Bracha L. Ettinger, which encompasses concepts beyond Freudian perspective on femininity, is it possible to investigate another type of gaze in Portrait of a Lady on Fire? In times such as our own, can these definitions provide an alternative foundation to the cinematic apparatus itself?